Heilige Bernard van Clairvaux 1650 - 1655

Editor: This is “Heilige Bernard van Clairvaux,” or Saint Bernard of Clairvaux, an engraving made by Gilles Rousselet between 1650 and 1655. The figure's intense gaze and open gesture, coupled with the ethereal vision in the upper left, give the image a feeling of fervent devotion. What strikes you about this piece? Curator: I am interested in the intersection of religious power and the representation of the body within Baroque art. How does Rousselet use Saint Bernard's figure to communicate a particular theological message and social ideology? Consider the saint’s presentation, almost theatrical. What’s he acting out? Editor: I see what you mean. His open arms, upturned gaze. Is it a performance of piety, or something deeper? Curator: I would argue that it's both. Religious ecstasy during the Baroque period was frequently represented with elements of theatricality precisely because it was intended to inspire and move the masses. But Rousselet's work speaks to issues of power too. Who has access to divine revelation, and what are the social consequences of such a claim? Think of gender and power structures too. How does Mary and Jesus' presence challenge or reinforce existing patriarchal systems within the church? Editor: So, looking at it now, I'm wondering how this image of Saint Bernard might have been received during that period. It's not just a portrait; it's making a statement about authority and the saint's relationship to a larger theological narrative. Curator: Exactly. By analyzing these visual cues through a critical lens, we can start unpacking the complex layers of meaning embedded within this work. The nuances tell stories about faith, gender, power, and representation in the Baroque era. Editor: That’s a lot to consider, especially seeing the Saint as a kind of social and religious figure in this historical moment. Thanks for making me think about the artwork in a different way!